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Partition complète et , partie, La gracieuse, Caix d'Hervelois, Louis de par Louis de Caix d'Hervelois

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Retrouvez la partition de la musique La gracieuse partition complète et , partie, pour hautbois damore, continuo, composition de Caix d'Hervelois, Louis de. La partition baroque écrite pour les instruments suivants: hautbois d’amore + Continuo
La partition enchaine différents mouvements: 7 mouvements: , Prélude , Menuet I , Plainte I, Menuet II , Napolitaine , Menuet III , La gracieuse et est répertoriée dans les genres partitions pour anglais cor, pour 1 musicien avec continuo, pour hautbois, continuo (arr), pour anglais cor, continuo (arr), partitions pour basson, partitions pour hautbois damore, pour basson, continuo (arr), partitions avec basso continuo, pour hautbois damore, continuo, partitions pour hautbois
Travaillez de la même façon d'autres musique pour hautbois d’amore + Continuo sur YouScribe, dans la catégorie Partitions de musique baroque.
Date composition: 1708–1748
Rédacteur: Jennifer Paull
Edition: Amoris International. Les Tableaux galants series. Edition AI TG 003.
Dédicace: For Tristan Lorenzo
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LOUIS DE CAIX D’HERVELOIS



Les Tableaux galants

Edited and ornamented by Jennifer I. Paull



LA GRACIEUSE

Cor anglais et basse continue












TG 003 Louis de Caix d’Hervelois
(circa 1680 – 1759)

Although Louis de Caix d’Hervelois was one of the greatest French viol virtuosi
of his day, very little is known of his origins or his personal life. It is widely
accepted that he studied with the great Marin Marais. He is known chiefly for
eight published collections of pieces: five for (one and two) viols and three for
flute (à un dessus: ‘for upper wind instrument’) with figured bass. Of these, the
five collections ‘Pièces de viole’ (published over a period of some thirty years) are
his most important legacy. Caix did not hold a court appointment unlike other
members of the Lyon branch of the Caix family to which he may have been
related. He remained an independent musician and composer who earned his
living through the patronage of nobles and his own composition, performance
and teaching. Le Blanc (1740) situated him next to Marin Marais (1656 –
1728) and the elder Forqueray (Antoine Forqueray 1671 –1745) in order of
ranking in ‘l’empire de la viole’.

Recent research establishes his birth circa 1680 in Amiens (northern France)
and his death, 1759, in Paris at his apartment in the Rue du Jour (opposite the
portals of l’église de Saint-Eustache), where he had been living for more than
thirty years. Here, his home was in the same building as that of his great friend,
 the prolific composer and flautist (also a musette player of note) Joseph Bodin
de Boismortier (1689 – 1755). He too was an independent musician and the
first French composer to employ the Italian concerto form. Caix appears to have
remained an adept of the artists’ quarter of Paris between the Rue Saint-Honoré
and l’église des Halles for all his years in the capital. This district was a hive of
artistic creativity in which dancers, musicians, artists and dealers (in both art
and music manuscripts) lived and worked. The two friends obviously influenced
each other’s work. The virtuoso string player would edit the manuscripts written
by the virtuoso wind player and vice versa.

Caix' graceful melodic music lies well within the French tradition of character
pieces of this period. In his first two books, he still reflects Marais’ influence and
                                                          
 At this time musette implied the musette de cour (or Baroque musette), a member of the bagpipe
family of instruments. Subsequently the chanter was used alone with a double reed inserted directly
(hautbois de Poitou). Around 1830 it started to be known as the ‘oboe musette’, subsequently ‘piccolo
oboe’, even ‘piccoloboe’. Today it is known, for the most part, as the ‘musette’. It is a confusing word;
a dance, well-liked at the Courts of both Louis XIV and XV, bore the same name. This musette was a
gentle Gavotte, pastoral in nature, which imitated a bagpipe above a drone. From ballet, it also
proliferated in keyboard music.  predilection for grandeur, a fashion inherited from the previous century. He
really found his true style when reflecting the new taste for what is known as ‘la
petite manière’. With the accession of the young Louis XV, a new elegance
founded upon fleeting pleasures and sophistication saw its day in all things
artistic: from music to fashion and art; from interior decoration and furniture to
demeanour, everything became more intimate. Music followed suit with shorter
movements mirroring the human spirit in descriptive sketches. Fashion was
ornate, theatrical, detailed and trompe l’oeil was at its zenith. Caix was in his
element. His genius for painting the miniature (even the ironical caricature) in
music blossomed. Nature in all its beauty and matters pastoral were celebrated
and extolled.


Jennifer Paull
1997



La Gracieuse

Cor anglais et basse continue

TG 003

This suite is selected freely from Louis de Caix d’Hervelois’ five books of ‘Pieces
de viole’ (collections of viol music with figured bass), for the most part from the
second and fifth. Caix d’Hervelois lived for many years at the same address as his
close friend Joseph Bodin de Boismortier (1689-1755), the celebrated flautist
and fruitful composer. Each wrote for the other’s instruments and noted on
their scores that yet more could be employed for their interpretation, as was the
custom. Undoubtedly, apart from the letters and verses they penned to each
other (which still exist), the close friends played much chamber music. It is
known that Boismortier’s work for viol (dedicated to Marin Marais) was edited
by Caix d’Hervelois. Thus the friends’ complicity is an established fact.

According to the practice of the time, the performer was free to adapt the ‘Pièces
de viole’ to suit other suitable instruments and their inherent possibilities. From
the wealth of material available, I have selected a variety of movements ideally
suited to the members of the Bande de hautbois (an instrumental ensemble,
including bassoons, that originated at the Court of Louis VIX). My choice to repeat one of these movements, with differing ornamentation, is entirely within
the stylistic tradition. The titles of the movements are original. I have simply
chosen one to depict the suite in portraiture, rather in the manner of Jean-
Antoine Watteau (1684 –1721) who specifically created the fête galante style in
Art. The title La Gracieuse means ‘The Graceful Lady’, many of whom he and
other artists of the period portrayed so magnificently. ‘La Déclaration d’amour’,
by Jean-François de Troy (1679-1752), another such artist well-known for his
portraits, is the painting represented on the cover of my recording of this work.
The double dot was not yet in existence. The (single) dotted note was
customarily held longer than today: somewhat similarly to the manner of the
present double dot - although less precisely mathematical and more open to
personal interpretation. The following semiquavers (sixteenth notes) or
demisemiquavers (thirty-second notes) were played as an up beat to the next note
of importance. I find our present notations (with the figure 3 to indicate a
triplet), therefore, to be incorrect and too precise.

I have chosen to adopt the style of the time to give the feeling of a ❖
❖held note from which one moves forward rather than notate it in the
precise manner of today (naturally, this also applies to other
proportions of these note values). For today’s interpretation of a 
single dot, the word inégal (uneven) was often inserted as a directive.
The opposite, égal, implied playing the notes evenly (as written).

To quote Michel de l'Affilard (circa 1656-1708) in his book ‘Principes très faciles
pour bien apprendre la musique’ (a most successful work published in fourteen
editions between 1697 to 1747),


One learns better by example than by any written dissertation.


I trust, therefore, that the nuances of inégalité and ornamentation will be more
easily followed on my recording than by lengthy technical explanation on this
page.

Naturally, performers are totally at liberty to create their own improvisations.
Our interpretation is written out for those who are not specialists in this
domain. Those who are will be able to improvise their own versions from the bass
line and figures. The realisation by Christine Sartoretti was based upon the
composer’s original figured bass. In 2010 I re-edited my original versions for oboe d’amore and cor anglais, enlarging the possibilities to four instruments of
this court ensemble. I took this opportunity to develop elements of
ornamentation accordingly. Ian K. Harris revised the figured bass to include the
modifications necessary for the various transpositions in this new edition. La
Gracieuse is published in three transpositions for four instruments of the Bande
de hautbois.
The series of French Baroque music published by Amoris International is
entitled ‘Les Tableaux galants’.

Jennifer Paull
2010



Revised Edition 2010
La Gracieuse- Caix d’Hervelois TG 001 Oboe & b.c.
Caix d’Hervelois TG 002 Oboe d’amore & b.c.
TG 003 Cor anglais & b.c.
TG 004 Bassoon & b.c.

La Gracieuse is recorded by

Jennifer Paull, Oboe d’amore
Christine Sartoretti, Harpsichord
Stefano Canuti, Bassoon

The Oboe d’amore Collection Volume I

( SC VI )

Also published by Amoris International

Les Vendengeuses - Caix d’Hervelois TG 005 Oboe & b.c.
Caix d’Hervelois TG 006 Oboe d’amore & b.c.
TG 007 Cor anglais & b.c.
Basson & b.c.


www.amoris.com













www.amoris.com



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for Tristan Lorenzo
LA GRACIEUSE
Louis de Caix d'Hervelois
(circa 1680 - 1759)
Realisation: Christine Sartoretti Edited: Jennifer I. Paull
Revised Ian K. Harris 2010 I Revised 2010
Prélude
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AI TG 003

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